Mozart wrote his 39th
(in E Flat Major, K 543) 40th (in g minor K 550) and 41st (in C
Major-the Jupiter) symphonies in a period of 2 months over the
summer of 1788. It is possible that they were written for a
subscription series that was to take place in the winter of that
year. However, it seems almost certain that Mozart himself never
heard these three symphonies performed.

The 40th symphony was written in two versions, the first
without clarinets and the second with clarinets. In the second
version he also edited the oboe parts to compliment and suit the
addition of the clarinet voices. The work remained unpublished for
many years. At one point the manuscript was owned by Brahms who
refused to allow its publication. The work only became known after
his death in 1897- 106 years after Mozart’s death.

Mozart had, earlier, in 1773 written a symphony in g minor (KV.
183). It is a powerful and expressive work, possibly influenced by
Mozart’s acquaintance with Haydn’s symphonies in the minor key
written around the same time. It is likely that he was especially
influenced by Haydn’s symphony in g minor (No.39). Nevertheless
it would be foolish to read too much into his choice of key for
the 40th symphony despite the dramatic difference in tonality
between the 39th symphony in E flat major and the 40th symphony in
g minor.

The rhythmical impulse created by the violas at the beginning
of the symphony is carried throughout the first movement. This
movement sets the mood of tension, which pervades the entire
symphony. The role of the strings is so important as to almost
create a string symphony. The vital role of the strings is also
apparent in the second movement. The woodwinds' almost disturbing
role continues the tension created in the 1st movement.

The third movement was once described by Hermann Kretschmar in
his "Führer durch den Konzertsaal" (1887) as ‘one
of the most combative movements ever constructed from an old
elegant dance form. Throughout it, voices are not allowed to
finish their line before being interrupted by others '. The trio
is in complete contrast creating the most peaceful moments in this
symphony .

The symphony’s dramatic climax in the 4th movement is
remarkable for an extraordinary development section. Here Mozart
creates such a powerfully emotional section as to almost induce
fear. He does this through a series of almost grotesque intervals.
The remainder of the movement is driven mercilessly to its
dramatic end.